Berlin Art@Site www.artatsite.com Daniel Libeskind Garten des Exils Gesamt
Artist:

Daniel Libeskind

Title:

Garten des Exils Gesamt

Year:
1999
Adress:
Lindenstrasse 9
Website:
Aspects of this artwork
In the Garden of Exils Daniel Libeskind the olive-trees refer to tradition, trust, hope and future. The olives are standing in a cube and thus refers to the essential role of the substrate, the base, the tradition. The slope refers to a continuous and positive development, in my opinion. Even when Libeskind makes use of comparable aesthetic elements (cubes, a non-flat surface), he added thereto essential elements (olive trees) and so the meaning of the work is entirely different than the artwork by Eisenmann.
By Theo, www.artatsite.com

Compared with other artworks
The impact of natural elements (stone, water) as Water Feature Stephen Cox (London, picture 1,more information) is strong and by pointing to words like a comprehensive universal system, continuity, human nature, responsibility, tradition and hope.

The use of massiveness has a major impact in 1600 Pandas by Paolo Grangeon (Hong Kong, picture 2,more information) by the friendly looking pandas who activate to immediate global action to protect nature.

Massiveness can also have an absolute nature. The question in The Wolves Are Coming by Liu Ruowang (Beijing, picture 3,more information) whether the lone person can keep standing up against the wolves. The artis can refer to different matters. It is at least something violent which man fears. This can be anything; natural disasters, other people, the government, big compagnies, etc. This work brings in a general topic with a strong emotion but gives no direction for a solution.

Denkmal für die ermordeten Juden Europas by Peter Eisenman (Berlin, picture 4,more information) is a masterpiece and is pointing effectively to major historical events and meanings, for Germans and also for mankind. A cube is a minimal element which refers to essential values, like peace and humanity. Scrolling between the blocks can bring this desire. A rectangle form refers to more specific symbols. I think in this case of a tombstone. It focuses strongly on the past, but is less meaningful to the present and the future. It recalls feelings from the past but provides less comfort for the future.
By Theo, www.artatsite.com
www.landschaftsarchitektur-heute.de:
Der Einbindung des durch den Architekten D. Libeskind entwickelten räumlich und zeitlich ausgerichteten Bedeutungsgeflechtes, welches den Museumsbau in Beziehung zur Geschichte der Berliner Juden setzt, folgen die Themen verschiedener Bereiche der das Museum umgebenden Gartenanlage.
In Anlehnung an die Materialien des alten Berlins wurden die Materialien des Gartens und der Platzflächen gewählt. Ein nach dem Dichter Paul Celan benannter Hof, zwischen dem Alt- und Neubau gelegen, erinnert an die typischen "Berliner Hinterhöfe". Hier gliedert in der Interpretation einer Grafik der Frau Celans, Gisèle Celan Lestrange, ein Bodenrelief aus Naturstein die Fläche des Hofes. Das Bodenrelief breitet sich gleichsam unter dem Gebäude in alle Richtungen aus und kehrt im Umfeld an verschiedenen Orten des Gartens wieder.
Der Garten des Exils (E.T.A.Hoffmann Garten) "steht für den Versuch, den Besucher vollständig zu desorientieren, für einen Schiffbruch der Geschichte". (Daniel Libeskind, 1999) Den Garten des Exils betritt der Besucher nach dem Verlassen der Achsen. 49 Betonstelen erheben sich auf einem quadratischen Grundriss. Die gesamte Anlage des Gartens ist um zwölf Grad geneigt und verwirrt die sinnliche Wahrnehmung des Besuchers. Diese räumliche Erfahrung soll auf die mangelnde Orientierung und das Gefühl von Haltlosigkeit verweisen, das Emigranten empfanden, die aus Deutschland vertrieben wurden. Aus den Stelen wachsen Ölweiden, die Hoffnung symbolisieren.
Ein kleiner Spielplatz ist dem Dichter Walter Benjamin gewidmet und nimmt Bezüge zum Bauwerk sowie den benachbarten Freiräumen auf.
Der Rosenhain mit sich umeinander drehend gepflanzten weißen und roten Rosen erinnert an die Rose, als eine der wenigen innerhalb der Mauern des historischen Jerusalem kultisch zugelassenen Pflanzen.
Footprints der unbebaut gebliebenen, entäußerten Leere (voided void) aus dem Bedeutungsrahmen des Gebäudes bilden sich auf der Fläche durch Schotterfelder ab. Als Zitat einer der Natur verpflichteten Gegenwartsvorstellung zum Paradies wird der auf dem Schutt des Krieges entstandene Robinienhain durch künstlerische Intervention interpretiert. Dieses Gartenzitat verweist auf die sich stetig wandelnden Vorstellungen.
Translation:
The integration of the by the architect D. Libeskind developed spatially and temporally aligned importance braid, which sets the Museum in relation to the history of the Jews in Berlin, follow the topics in various areas of the Museum and surrounding garden.
Based on the materials of the old Berlin, the materials of the garden and the place have been chosen areas. According to the Poet Paul Celan named the yard, between the Old and new building, reminiscent of the typical "Berlin backyards". Here, the woman Celan, Gisèle Celan Lestrange broken down in the Interpretation of a graph, a ground relief from a natural stone, the surface of the court. Relief spreads, as it were, under the building in all directions and returns to the environment in different places of the garden.
The garden of exile (E. T. A. Hoffmann garden) "stands for the attempt, the visitors completely disorient, for a shipwreck of history." (Daniel Libeskind, 1999), and The garden of exile, the visitor enters to the Left of the axes. 49 concrete stelae, rising on a square plan. The entire system of the garden is inclined to twelve degrees and confused the sensual perception of the visitor. This spatial experience to point to the lack of orientation and the feeling of helplessness, the emigrants found, who were expelled from Germany. From the stelae grow Elaeagnus, the hope to symbolize.
A small Playground is dedicated to the Poet Walter Benjamin, and references to the building as well as the adjacent free space.
The rose's grove with each other rotating planted white and red roses is reminiscent of the Rose, as one of the few within the walls of the historic Jerusalem cult-approved plants.
Footprints of the buildings remained, entäußerten Empty (voided void) from the frame of the building from forming on the surface by Schott fields. As a quote from one of the nature, presence, committed to idea of Paradise on the rubble of the war, resulting Robinia is interpreted grove through artistic Intervention. This garden quote refers to the ever-changing ideas.

www.wikipedia.org:
Die Ähnlichkeit des Gartens des Exils mit dem Stelenfeld des Denkmals für die ermordeten Juden Europas sorgte 1999 für Plagiatsvorwürfe von Libeskind gegen dessen Architekten Peter Eisenman; der Streit konnte allerdings beigelegt werden." www.wikipedia.org: Daniel Libeskind (born May 12, 1946) is a Polish-American architect, artist, professor and set designer. Libeskind founded Studio Daniel Libeskind in 1989 with his wife, Nina, and is its principal design architect. He is known for the design and completion of the Jewish Museum in Berlin, Germany, that opened in 2001. On February 27, 2003, Libeskind received further international attention after he won the competition to be the master plan architect for the reconstruction of the World Trade Center site in Lower Manhattan. Other buildings that he is known for include the extension to the Denver Art Museum in the United States, the Grand Canal Theatre in Dublin, the Imperial War Museum North in Greater Manchester, England, the Michael Lee-Chin Crystal at the Royal Ontario Museum in Toronto, Ontario, Canada, the Felix Nussbaum Haus in Osnabrück, Germany, the Danish Jewish Museum in Copenhagen, Denmark, Reflections in Singapore and the Wohl Centre at the Bar-Ilan University in Ramat Gan, Israel. His portfolio also includes several residential projects. Libeskind's work has been exhibited in major museums and galleries around the world, including the Museum of Modern Art, the Bauhaus Archives, the Art Institute of Chicago, and the Centre Pompidou. He was the first architect to win the Hiroshima Art Prize, awarded to an artist whose work promotes international understanding and peace. Many of his projects look at the deep cultural connections between memory and architecture. While much of Libeskind's work has been well-received, it has also been the subject of often severe criticism. Critics often describe Libeskind's work as deconstructivist. Critics charge that it reflects a limited architectural vocabulary of jagged edges, sharp angles and tortured geometries, that can fall into cliche, and that it ignores location and context. In 2008 LA Times critic Christopher Hawthorne wrote: "Anyone looking for signs that Daniel Libeskind's work might deepen profoundly over time, or shift in some surprising direction, has mostly been doing so in vain." In 2006, in the New York Times Nicolai Ouroussoff stated: "his worst buildings, like a 2002 war museum in England suggesting the shards of a fractured globe, can seem like a caricature of his own aesthetic." In the UK magazine Building Design, Owen Hatherley wrote of Libeskind's students' union for London Metropolitan University: "All of its vaulting, aggressive gestures were designed to 'put London Met on the map', and to give an image of fearless modernity with, however, little of consequence." William JR Curtis in Architectural Review called his Run Run Shaw Creative Media Centre "a pile-up of Libeskindian clichés without sense, form or meaning" and wrote that his Hyundai Development Corporation Headquarters delivered "a trite and noisy corporate message". In response, Libeskind says he ignores critics: "How can I read them? I have more important things to read."